Review: Forbidden Broadway The Next Generation

Forbidden Broadway has relentlessly and lovingly assaulted the Great White Way since 1982, when lyricist/conceiver Gerard Alessandrini, then a struggling singer-actor, created the first edition for himself and his friends to perform. It lampooned the Broadway shows and stars of the day – to put things in perspective that was the year Cats (a top Alessandrini target) opened, and Ethel Merman (who has turned up frequently in the revue over the years) still had two years to live.

This new edition, subtitled The Next Generation takes aim at Hadestown first featuring “Andre De Sheilds” singing “Forbidden Hadestown” – about the harshest thing Alessandrini has to say about this show, which he clearly liked, is that it is “pretentious.” Next up is Moulin Rouge , which Alessandrini uses to roundly eviscerate jukebox musicals as a whole.

Some of the harshest barbs go to Renee Zellweger in Judy – Alessandrini has Judy Garland sing “Zellweger stinks in my part” to the tune of “Zing Went the Strings.” His song about Fosse/Verdon is basically a love letter, as is a number he has Mary Poppins sing about beloved flops, “The Place Where the Lost Shows Go.” The finale, as often is the case for Forbidden Broadway, is a love note to the future of musical theater. Alessandrini seems to see plenty of hope (which he didn’t in 1982), and that’s a very good sign.

For tickets, click here.

For more more about Jonathan Warman’s directing work see jonathanwarman.com

Review: The Great Society

Robert Schenkkan compellingly told how Lyndon B. Johnson won the 1964 election in his play All The Way. After Johnson won, he passionately articulated a bold plan to build a just society for all Americans, an agenda of several acts he collectively called “The Great Society.” In the play The Great Society, Schenkkan’s sequel to All the Way, we explore how LBJ went from his landslide victory to his exhausted decision not to run for re-election just three years later.

“The Great Society” was one of the most ambitious reform programs in American history, but would eventually be derailed by ruthless Republican stonewalling, as LBJ himself sank into the quagmire that was the Vietnam War. The Great Society‘s inventive creative team brings this very troubled period of history to vibrant life. Director Bill Rauch deftly arranges the frequent shifts in locale and mood with deceptive simplicity. It also helps that playwright Robert Schenkkan successfully conveys a strong sense of time, place and stakes in every line of his jazzy dialogue.

Playing LBJ, Brian Cox brilliantly captures that president’s tireless energy and ruthless political gamesmanship being worn away by circumstances out of his control. The Great Society has the heft of a Shakespeare history play, which is unsurprising given the play’s origin as a commission from the Oregon Shakespeare Festival. Cox’s almost tragic performance as Johnson is the real heart of this production, a moving portrait of a man’s ambitions and dreams rapidly evaporating. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: The Height of the Storm

In Florian Zeller’s delicately surreal new play The Height of the Storm, Zeller investigates grief for the passing of a beloved spouse, as well as the difficulty of dealing with dementia in a spouse or parent. In the last few years, there have been a spate of excellent plays on Broadway dealing with many varieties of dementia – among them Zeller’s own The Father. While there are echoes of that play here, The Height of the Storm emphasizes the complete loss of your life partner, not you memories.

The play bounces back and forth between different narratives. In one, famous writer André (Jonathan Pryce) is grieving for his wife Madeleine (Eileen Atkins). In another, Madeleine is grieving for André. In yet another both are still alive, but André is slipping into dementia – actually this is happening in all of the narratives.

The play is complex enough that one can interpret it several ways. One person I spoke with perceived that this was all in André’s confused mind, as happened in The Father. I prefer to think that we are seeing several different realities play out, perhaps even more than the ones I described above. In one, André had an affair, in another it was a student of his that had the affair, etc., etc. Certainly Zeller keeps us on our toes with his imaginative and precise writing.

I have never seen Jonathan Pryce better. He moved me with his performance, which he has never done before. Eileen Atkins is also exceptional, and the supporting cast uniformly excellent. Director Jonathan Kent and lighting designer Hugh Vanstone help us track the shifting reality with intricately calibrated lighting changes working hand in hand with thoughtful, rigorous staging. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Raja

This queen repeats herself sometimes. You know what, though, Raja looked into the cause of this issue, and found the theme of her new show “Lush Life,” which is all about the weed and wine she cheerfully admits to consuming before during and after the show. She explains that lush means luscious, extra and (in her words) a “moderate alcoholic” – all qualities she proudly owns, and uses to entertain her adoring audience.

It doesn’t hurt that with a little wine in her, Raja instinctively swirls, twirls and dips with aplomb whenever there’s music. That makes me wish the ratio of talk to music favored music more, even though her monologues are spiritually and politically deft and intelligent.

She’s one of the most effortlessly stylish queens ever to appear on Drag Race, and she features a little bit of everything in this show: some singing, some monologuing about contemporary issues, and a whole lot of fashion fierceness (three fabulous glimmering monochrome outfits). As a matter of fact, she opens the show singing – not lipsynching – Madonna’s “Vogue,” giving you fantastic body and face. There’s your admission fee covered right there. Raja has a warm charismatic presence, which makes you think she’d be able to put over just about anything she wanted. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Latrice Royale

Large-and-in-charge Latrice Royale has crafted her latest cabaret show – entitled “Here’s to Life 2019” – solidly in the mold of traditional autobiographical cabarets. Her first cabaret show, called simply “Here’s to Life” was powerful and entertaining, telling as did her story from growing up gay in Compton, to finding her drag vision in Miami, and ultimately to the trail of tribulations that led up to the “unfortunate incarceration” she sometimes referred to when she was on Season 4 of Drag Race. She followed that up with shows that detailed her life since Drag Race. Those, while still entertaining, felt a bit thin by comparison, because they covered a shorter, less drama-packed time span. Now, she’s giving us the best of both worlds, keeping the strongest bits of her original show while keeping us updated on her life – in this case her marriage to her music director Christopher Hamblin.

It’s more talk than song, and Latrice’s story-telling is well served by her warm authenticity and infectious positivity. I would definitely like to hear her sing more, though, because she’s actually pretty damn good at it! There’s no attempt at giving you “girl singer” – “Barry White in drag” is how she describes her basso stylings – but she clearly models her approach to song interpretation on the likes of Aretha Franklin. She may not have Aretha’s pristine vocal instrument but she certainly understands her lessons in musicality and expression. And her take on cabaret standard “Here’s to Life” marks the first time I’ve heard it as a determined look at the future rather than a wistful look back.

Latrice is backed by a very able jazz trio led by her hubby on the piano. This feels more polished than the cabaret acts I’ve seen from other Drag Race alumni, while still running a bit on the long side (don’t repeat your thematic points, girl, we got you the first time). Latrice is the real thing, and I want to hear much more from her as a singer. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Leslie Jordan

This stand-up show at The Green Room 42 is a laugh-so-hard-you-cry look at the world through ultra-queer eyes. He outlandishly recalls “how I got that role,” namely Beverly Leslie in Will & Grace. He describes his Emmy win for that role in great and hilariously self-deprecating detail. There’s plenty of dish about Hollywood: No outing – he describes John Ritter as “a great friend to the queers but a reeeaal pussyhound” – but we definitely get the lowdown on who has a legendary dick that Leslie repeatedly begs to see…and who is nothing but mean and nasty.

Leslie, who describes himself as “the gayest man I know,” also claims that he was put on this Earth to be a comic scene-stealer (who met his only match playing opposite Megan Mullally on Will & Grace). This innate gift gives the fey, diminutive Jordan more than enough power to thoroughly command a stage all by himself.

This show is also an often moving look at the very best and worst of what queer culture has to offer. Jordan looks at the profound self-doubt that comes with growing up queer and hyper-effeminate in Chattanooga, Tennessee. Most moving of all, he describes how he threw all of his emotion about both his father and the lives lost in the Pulse nightclub massacre into throwing the first pitch at a baseball game. He threw with such passion that one of the pros said he could have had a career as a pitcher.

I can’t think of another autobiographical show that is more pure, unadulterated fun than Exposed! — it makes a convincing case for Jordan being one of the very greatest queer comic talents of our time.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: BenDeLaCreme

So I thought a show about matrimony would be less searching than a show about astrophysics or a 14th Century Italian epic poem, BenDeLaCreme’s previous two topics.

I was wrong.

Ready to Be Committed goes right to the tough questions: what is love anyway? Should people even get married, since matrimony’s roots are in a system which treated women as property? The first question is addressed in a rap entitled “Lovesickness” which traces theories about the nature and source of love from the ancients to modern neurochemistry. The second question gets a hard going-over in a parody of “Single Ladies” called “Medieval Ladies.”

This show is lighthearted in the sense that the queen otherwise known as Ben Putnam is back to playing a bit of a ditz this time around. It’s her wedding day, but she forgot to get a groom – so she goes on Grindr to find one. Which leads to all kinds of hilarious misunderstandings. I can give this much away because BenDaLa’s brilliance really shows up in the details.

BenDeLaCreme takes the best of clowning, drag, circus, burlesque and puppetry and whips them into something new, fascinating and intensely intelligent. Not only that, she uses these popular forms to probe the very biggest questions, switching from deep existential angst to spiritual lightness in the space of a minute – in between double entendres about sex and booze.

She is not only all about fantastic and ridiculous artifice, but also ultimately about what that artifice can communicate and express about deeper things, like ethics and how to take care of ourselves and each other. She delivers a show that’s equal parts cheeky fun and insightful art, no small feat. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.